The paper choice is made according to various parameters such as : colour, grain (we say the paper is opened or closed according to the surface roughness), weight, size.
At the ART ESTAMPE Studio, we mainly use papers marketed by Antalis (previously Arjomari AR=Arches JO=Johannot MA=Marais RI=Rives), the first world paper company to specialise in fine art printing papers, under the trademarks of Arches or Rives, and sometimes Moulin du Gué. With these papers the weight changes between 250 and 300 g/m2 according to the paper size, they are the only papers to guarantee a real long-term conservation.
For vintage poster reprints, we use regular poster papers of less weight, around 170g/m2.
Each paper sheet carries the watermark (signature) of one of these prestigious centuries-old paper mills .
Learn more about the Arches paper craft manufacturing
Fine art papers must be manufactured in strict accordance with the Paper-Master tradition, starting from cottonpaste which makes up between 25% and 100% of the mixture according to various trademarks.
The presence of cotton fibre in the paper gives :
- colour permancence (resistance to UV)
- an excellent long-time conservation
- a pleasant feel
The joining of papers is not-acid (neutral pH) to ensure a better conservation. This technical choice is symbolized in the watermark by the infinity sign ∞.
The Anglo-Saxons call this kind of paper "Archival paper".
Therefore, with the old fashioned manufacturing on a round form, you increase the paper quality a great deal : a better reliability, a more harmonious and more marked paper grain. Moreover you obtain paper edges with fringes which give to a fine art paper its true dimension.
The paper choice
About the watermark
The watermarks which decorate papers, authentication punches, indelible and enhanced value paper sheet marks, are handmade by "formaries", working papermakers of great ability who hand bend the patterns you wish to obtain on the fabric.
From a practical point of view, you can also identify the date of manufacture precisely, because of the watermark changes, and this constitutes a kind of traceability for the appraiser or the art lover.
For example the infinity sign ∞ appeared after 1980, to indicate that the manufacturing process had changed, and that the paper from then on was non-acid.
From a practical point of view, you can also identify the date of manufacture precisely, because of the watermark changes, and this constitutes a kind of traceability for the appraiser or the art lover.
For example the infinity sign ∞ appeared after 1980, to indicate that the manufacturing process had changed, and that the paper from then on was non-acid.
Paper sizes
History of the French paper names
In the 14th century, France had many paper mills which manufactured papers of various sizes. At that time, some manufacturers, in particular in the Troyes area (150 km East of Paris), started to reduce both size and thickness of the paper sheets with the purpose of becoming richer...
In 1398, the Troyes Bailiff, Louis de Tignonville, supported by King Charles VI, pronounced an edict requiring the "openers" to sign their manufacture under penalty of seizure.
Thus, until the end of the 16th century, each paper manufacturer used a distinctive watermark, specific to his manufacture. During the following centuries, the most appreciated manufacturers were imitated by others who gave to the "forms" the names of the watermarks that they carried.
Only two or three terms that inherited this tradition, are still in use nowadays by artists or fine art printers : Grape (Raisin), Jesus or Dovecote (Colombier).
All the formats are standardized today by AFNOR. Here is the complete list:
Bell 30 X 40 cm (11 3/4 x 15 3/4 in)
Telliere 34 X 44 cm (13 1/2 x 17 1/4 in)
Crown edition 37 X 47 cm (14 1/2 x 18 1/2 in)
Ecu 40 X 52 cm (15 3/4 x 20 1/2 in)
Cockle 44 X 56 cm (17 1/4 x 22 in)
Square 45 X 56 cm (17 3/4 x 22 in)
Rider 46 X 62 cm (18 x 24 1/2 in)
Grape 50 X 65 cm (19 3/4 x 25 1/2)
Jesus 56 X 76 cm +/- 2-3 cm (22 x 30 in)
Sun 60 X 80 cm (23 1/2 x 31 1/2 in)
Dovecote poster 60 X 80 cm (23 1/2 x 31 1/2 in)
Dovecote 63 X 90 cm ( 24 3/4 x 35 1/2 in)
Small Eagle 70 X 94 cm (27 1/2 x 37 in)
Large Eagle 75 X 106 cm (29 1/2 x 41 3/4 in)
Large World 90 X 126 cm (35 1/2 x 49 1/2)
Universe 100 X 130 cm (39 1/2 x 51 1/4 in) The most used also come in half sizes (larger size divided by two) :
Half Grape 32,5 X 50 cm (12 3/4 x 19 3/4 in)
Half Jesus 38 X 56 cm (15 x 22 in) and in quarter sizes(the half sizes divided by two) :
Quarter Grape 25 X 32,5 cm (9 3/4 x 12 3/4 in)
Quarter Jesus 28 X 38 cm (11 x 15 in) At the ART ESTAMPE Studio, our larger printing size is 80 X 112 cm (31 1/2 x 44 in)
In the 14th century, France had many paper mills which manufactured papers of various sizes. At that time, some manufacturers, in particular in the Troyes area (150 km East of Paris), started to reduce both size and thickness of the paper sheets with the purpose of becoming richer...
In 1398, the Troyes Bailiff, Louis de Tignonville, supported by King Charles VI, pronounced an edict requiring the "openers" to sign their manufacture under penalty of seizure.
Thus, until the end of the 16th century, each paper manufacturer used a distinctive watermark, specific to his manufacture. During the following centuries, the most appreciated manufacturers were imitated by others who gave to the "forms" the names of the watermarks that they carried.
Only two or three terms that inherited this tradition, are still in use nowadays by artists or fine art printers : Grape (Raisin), Jesus or Dovecote (Colombier).
All the formats are standardized today by AFNOR. Here is the complete list:
Bell 30 X 40 cm (11 3/4 x 15 3/4 in)
Telliere 34 X 44 cm (13 1/2 x 17 1/4 in)
Crown edition 37 X 47 cm (14 1/2 x 18 1/2 in)
Ecu 40 X 52 cm (15 3/4 x 20 1/2 in)
Cockle 44 X 56 cm (17 1/4 x 22 in)
Square 45 X 56 cm (17 3/4 x 22 in)
Rider 46 X 62 cm (18 x 24 1/2 in)
Grape 50 X 65 cm (19 3/4 x 25 1/2)
Jesus 56 X 76 cm +/- 2-3 cm (22 x 30 in)
Sun 60 X 80 cm (23 1/2 x 31 1/2 in)
Dovecote poster 60 X 80 cm (23 1/2 x 31 1/2 in)
Dovecote 63 X 90 cm ( 24 3/4 x 35 1/2 in)
Small Eagle 70 X 94 cm (27 1/2 x 37 in)
Large Eagle 75 X 106 cm (29 1/2 x 41 3/4 in)
Large World 90 X 126 cm (35 1/2 x 49 1/2)
Universe 100 X 130 cm (39 1/2 x 51 1/4 in) The most used also come in half sizes (larger size divided by two) :
Half Grape 32,5 X 50 cm (12 3/4 x 19 3/4 in)
Half Jesus 38 X 56 cm (15 x 22 in) and in quarter sizes(the half sizes divided by two) :
Quarter Grape 25 X 32,5 cm (9 3/4 x 12 3/4 in)
Quarter Jesus 28 X 38 cm (11 x 15 in) At the ART ESTAMPE Studio, our larger printing size is 80 X 112 cm (31 1/2 x 44 in)
The papers hierarchy
• China paper
It is manufacturing from bamboo filaments, a little bit grey, not very nice to look at, light like cork, thin and spongy. It takes the ink very well, so this paper is highly suitable for engravings.
• Japan paper
Manufactured from mulberry trees, it is a kind of thick china paper, yellow and silky. It is impossible to erase it. There are three different kinds of Japan paper : imperial Japan, pearly Japan, and old Japan dull enough.
• Holland paper
The Holland paper is resistant, sonorous, very dry, and a little bit breakable, it often has a smooth and a rough side. The Holland paper is laid. According to Anatole France, it is the only one paper which is durable, solid, rich and appropriate for luxury books (the book for book lovers published by Lemerre).
• Laid paper
These are connected with the Holland papers, they are a little bit stiffer and also manufactured from rags. The paperpaste is spread out on sieves whose bottom is tightened with brass wires which leave a mark on the paper, the laid. At the bottom of the sieve, there is also an iron drawing for the watermark.
• Vellum paper
These are white fine plain unlaid papers. They have been created to be skin-like.
Arches vellum or Rives vellum are the most useful papers nowadays in the fine art prints workshops like ART ESTAMPE.
• Alpha paper
These are regular papers manufactured by famous paper mills.
It is manufacturing from bamboo filaments, a little bit grey, not very nice to look at, light like cork, thin and spongy. It takes the ink very well, so this paper is highly suitable for engravings.
• Japan paper
Manufactured from mulberry trees, it is a kind of thick china paper, yellow and silky. It is impossible to erase it. There are three different kinds of Japan paper : imperial Japan, pearly Japan, and old Japan dull enough.
• Holland paper
The Holland paper is resistant, sonorous, very dry, and a little bit breakable, it often has a smooth and a rough side. The Holland paper is laid. According to Anatole France, it is the only one paper which is durable, solid, rich and appropriate for luxury books (the book for book lovers published by Lemerre).
• Laid paper
These are connected with the Holland papers, they are a little bit stiffer and also manufactured from rags. The paperpaste is spread out on sieves whose bottom is tightened with brass wires which leave a mark on the paper, the laid. At the bottom of the sieve, there is also an iron drawing for the watermark.
• Vellum paper
These are white fine plain unlaid papers. They have been created to be skin-like.
Arches vellum or Rives vellum are the most useful papers nowadays in the fine art prints workshops like ART ESTAMPE.
• Alpha paper
These are regular papers manufactured by famous paper mills.